This journal analyses the jump cut and its place in film as both an editing technique and a ‘stylistic option’ for creating narrative context in production. Bordwell describes the jump cut as a diegetic element of the film and outlines multiple techniques for execution, whether in production or post- production. He also describes the jump cut as ‘[an] assault on the basic continuity principles of editing’ and making the audience acutely aware of the camera’s viewpoint in relation to the diegetic elements of the film, though the audience, in his view, do not notice.

The article’s analysis on the purpose and nature of the jump cut is comprehensive. Though Bordwell’s signature, almost narrative style of non- fiction can be ponderous at certain stages, his explanation of the jump cut as a presupposition of the film’s diegesis (i.e the audience assumes it is a part of the action) is insightful. More interestingly, Bordwell’s theory that the jump cut disrupts continuity editing is useful in understanding the jump cut’s role in the shot sequence and and its relationship with the diegetic elements of the film in question.

Bordwell’s analysis of the jump cut is comprehensive and helps develop an understanding of its role and place in a shot, or sequence of shots. While there is little emphasis placed on the nature of the shot in the article, Bordwell’s unique perspective and focus on the jump cut as a phenomenon and its effect on audience, not just as an editing choice, creates an insight into why and where the jump cut should be used, and how it can be maximise to create meaning, rather than disrupt the continuity of a sequence.